Tag: Terry Dresbach

Coming back to this series after a little break because SEASON 3! What do you think of Voyager so far? Me, I’m like:

The Print Shop was done SO well, although I wish they had held off on Jamie introducing Willie because it felt a little forced. I will keep this spoiler-free, but do yourself a favor and read Voyager and then Drums of Autumn! The Outlander writers excel at bringing the books to life, and making changes that don’t make the readers pull their hair out.

Even if you haven’t read the books, I’m sure you can gather that there won’t be a return to Versailles and all the extravagant gowns (although the French Revolution will soon put a damper on the royal dress budget anyway…), so why not revel in the S2 costumes a bit?

The last post covered Annelise’s macaron-colored ensemble from this scene in the formal gardens and now it’s Claire’s turn! Annelise’s jacket and petticoat earned the first 10/10 HA (Historically accurate) rating in the Top 7 Looks, and it’s an ideal foil for Claire’s anachronistic mocha and butter yellow gown. After looking at this gown more I realized that it’s essentially a redingote with a few modifications. The redingote was fashionable in the last quarter of the 18th century, and to me the look is synonymous with posh ladies strolling down cobblestone streets with walking sticks. Movies like Marie Antoinette and The Scandalous Lady W have some great examples of the redingote on film.

Redingotes from Marie Antoinette with Kirsten Dunst. Note how these versions do not have front tabs.

The redingote (derived from a French corruption of “riding coat”) is a cross between an overgown and a jacket, with a button front, oversized lapels and cape collar, long sleeves, and a long open front skirt showing the petticoat underneath. It’s sort of an overgrown riding coat that often has a cutaway front or a skirt that begins away from tabs at the center front.

Here are some fashion plates and extant examples of the style (click to enlarge):

Redingote fashion plate, late 1780’s.

Magasin des Modes, May 1788.

Redingote c.1780-1790, The Met, NYC.

Claire’s version has a short standing or mandarin collar with 3/4 length sleeves, a horizontal bust dart paired with a solid yellow petticoat, with long yellow gloves and a bergére with flowers.

Close-up on the collar and covered buttons. You can see the pleated lining of her hat.Best shot of the pattern matching on the back and back pleats.

The silhouette is mostly true to the 18th century (I haven’t seen mandarin collars on extant ladies jackets, and there should be a point in the back seam) but the textiles are definitely modern. Also, you can see that there is lacing on the sides. Keeping in mind that these costumes have to be made before filming and final scripts, the maternity lacing is there to accommodate a bump and allow for varying size depending on what the production team decided. Granted, it’s hard to see a baby bump under all that fabric.

Detail of the maternity lacing on Claire’s hand-painted peony gown.

The hand-painted fabric is gorgeous and another instance of early 1950’s fashion influencing Terry Dresbach’s modern historical aesthetic. The large peonies, sprays of lilac and other flowers are dramatically oversized, and I’ve found some 1950’s and early 60’s dresses with a similar look, albeit not quite as large. The shirtwaist or button-front dress with a belt was very common, and you’ve likely seen this style in vintage shops.

Pierre Balmain lace dress, 1953. Very similar to Claire’s look.Large scale rose pattern on a 1950’s Givenchy dress.Here is the same Givenchy dress on his muse Audrey Hepburn, which she wore in Funny Face with Fred Astaire.

Just as the Dior Suit has been re-imagined again and again, elements of this dress have been seen on runways as recently as this year. A floor-length, full skirted dress with definition at the waist and long sleeves is a silhouette that can reinterpreted endlessly— these are few modern examples:

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How to Make It

If you’re an Outlander fan, you probably spotted that the petticoat is made from the same yellow silk-wool as the citrine robe a l’anglaise. Someone snagged the floral fabric from Britex and brought it to a small con to show fans.

This will be helpful to refer to if you try to paint it yourself!

Painting a floral design will require fabric paint in lots of colors, and a whole bunch of free time so this gown is not a quick and easy project! A solid redingote would be simpler and period correct. A false front petticoat could also be a way to cut costs, by using an inexpensive fabric for the back of the petticoat. This was common in the 18th century and earlier (such as Elizabethan gowns with open skirts), and even used on Outlander for the Citrine gown.

I discovered a very awesome pattern in researching this dress- a redingote pattern from LACMA created from an extant redingote in their collection! It’s a PDF that you can scale up so it does require little more work, but you can’t get more accurate than that! If you already have an 18th century dress block or a riding habit pattern that’s adjusted to you, you could use that as a starting point. A riding habit would be easiest since it already has a button front and horizontal dart—you can just lengthen the skirt or even use the pattern from a gown in place of the original. Unless the maternity lacing is necessary for your current body or you’re going for an exact Claire cosplay, I would leave it off.

Like Annalise’s tricorn and choker, the accessories really make this look so don’t forget about the bergere and gloves. Sometimes finishing the dress feels like crossing the finish line, but it’s the details like a wispy fichu or proper stockings that really make your outfit complete. Those smaller bits are often what makes your outfit stand apart from the crowd, even if the average person can’t quite put their finger on why it looks so nice!

I love that moment when you see a costume and KNOW you have seen it elsewhere… and then have to hunt through the entirety of the interwebs to figure where it came from, lol. I did eventually find the pink jacket (left) in my Pinterest likes. It’s a casaquin c. 1730-40 part of the collection of the Musee de la mode in Paris.

Portrait of Sophie Marie Gräfin Voss. Antoine Pesne, 1746.

Later I came across this portrait and *lightbulb*! The hat, ribbon choker, rounded square neckline, and unique split cuff sleeves match Annalise’s jacket exactly! Someone else recognized the resemblance of Annalise’s jacket to the Musee de la Mode casaquin and tweeted Terry, who confirmed that it was the inspiration and that they would have copied it exactly if they’d had more time to do the lace over curved edges. BUT no mention of this Gräfin Voss portrait, so feeling very pleased with my discovery. Don’t you love those behind-the-scenes tidbits, especially ones that confirm your fan theories?

Annelise’s outfit is period-perfect and the color palette makes me think of a box of macarons or blooms in a Parisian flower market. Very feminine and sweet. Her jacket is a brighter pink than the inspiration, although I wonder how rich the color was 200 years ago. Dupioni fabric has a beautiful texture and body, but a couple historical costuming blogs mentioned that silk with slubs would not have been used in this era. (I haven’t found any documentation on that however, so comment if you can point me in the right direction!) It doesn’t bother me because it doesn’t stand out like metal grommets or a hoop petticoat—you really wouldn’t think twice about it unless you happen to be an expert. BUT if you want to be HA, look for a deep pink taffeta, peau de soie or even silk-wool faille to have a similar low-shine look. There are some fabric options saved to the caraco Pinterest board.

There are a variety of jacket styles that were worn in the 18th century, including the caraco, pierrot, riding habit, and pet en l’air. Often the contemporary names given to the jackets and the way they’re worn varies, so the proper name for a jacket isn’t always clear. A caraco is a longer jacket, usually hitting mid-thigh, with a fitted back and 3/4 sleeves. The caraco bodice and skirt are cut all-in-one—no seam at hip—and flare over the hips. It was often worn closed, but also worn open over a stomacher, with a compere front (button-front with false stomacher), and with two or more flaps where a fichu could be tucked in. Sometimes the caraco is called a short gown, and that usually refers to the longer versions that go almost knee length.

I plan on going into more detail on the different types when I finish my own jacket for Claire’s Castle Leoch look, but there are links to good jacket explainers in the Sources.

Profile shows a fitted back, so we know it’s not a pet en l’air.

The petals or basques of the casaquin remind me of similar segmented skirts on jumps, a type of undress bodice worn at home. I realize that sounds odd, but in the 18th century “undress” was used as a noun, whereas today we only use it as a verb (“to get undressed”). “Undress” meant anything that was not a formal gown or fitting for company, especially of a higher social class. If you’ve ever been to Colonial Williamsburg or a similar historical reenactment site, most of the interpreters you see are working class types in undress wear, such as linen or homespun petticoats and plain jackets. However, one woman’s imported chintz caraco and wool petticoat might be the finest outfit she owns, but everyday “undress” for an upper class woman with a couple of silk robe à la françaises in her wardrobe.

“That’s because you don’t have a silk gown.”

A jacket and petticoat outfit is less formal than a gown, and very versatile since you can mix and match with a new petticoat or jacket. The silk fabrics elevate Annelise’s combination, making it suitable for a stroll through Versailles and implying a higher social class than the plain woolen jackets and petticoats seen on the majority of the women in the Highlands. Of course, you can mix and match as well if you already have a petticoat that would go nicely with the pink caraco—pale yellow, sky blue, or even green would be nice.

Blurry, but only shot of Annalise’s pretty hairdo.Detail of two lace trims used, silver and white.You can tack on the voile and lace to the sleeve, or add lace to your shift.

Annalise’s outfit lets the jacket be the focus with an untrimmed petticoat. Undress ensembles favored quilted petticoats in the first half of the century, and then evolved to petticoats with flounces on the bottom third. Quilted petticoats usually had wool batting with a silk top and linen backing so they kept you warm and cozy in addition to supporting the skirt. Women always wore a plain under petticoat for volume and to smooth out any lumps from supports like her bum pad or side hoops, and the quilted ones continued to be worn as under-petties for their warmth after the fashions changed. I adore quilted petticoats and the incredible craftsmanship the designs required leaves me speechless. Definitely on my costume bucket list!

Quilted green petticoat with printed caraco. The caraco has long sleeves, which help date it to 1770-90, and a compere front.

Linen, a fabric made from the flax plant, was used for lining women’s and men’s coats, and often with mismatched remnants from other garments. Although today linen is more expensive than cotton, cotton fabric wouldn’t be widely used as a cheap textile until the Industrial Revolution. You could also line it with an inexpensive poly lining or china silk.

How to Make It

This is certainly the most straightforward make so far! You can sew the jacket and the petticoat from available patterns without having to do any pattern drafting. However, you’ll definitely want to do a mock-up with the correct underpinnings as getting the front to line up and close neatly will probably require some adjustments. Annalise’s jacket has separate basques or skirt pieces, so mark the hip all the way around your pattern pieces. Then sew the jacket pieces together, stopping at that hip mark. Finish the seams of the basques separately and trim with lace. The covered buttons at the elbow and center back seam are such a nice detail so don’t skip them!

I’m currently working on my wool jacket using the JP Ryan jacket pattern, and I recommend using her pattern View A for this project. So far the shape is very accurate and the directions are clear, but an absolute beginner might feel overwhelmed. I’ll do a full pattern review when I’ve finished the jacket. If you want to copy the Musee de la Mode casaquin’s petal hem just a spend a bit of time with a French curve to get a similar shape.

The tricorn hat really makes this ensemble and I’ve seen similar hats from Frontier Milinery on Etsy. Talk about a perfect match! Personally I’d love have one like this—you could also wear the hat with a vintage outfit like a fascinator.

Less than a week until the Season 3 premiere so I’m going to have to pick up the pace! WELP. Sorry guys, but I had to focus on my sewing! FINALLY finished my first pair of stays, and can’t wait to share them with a post soon. If you’re just jumping in, here’s my ranking of the Top 7 Looks from Outlander Season 2:

Claire’s famous Red Dress is one of the few garments from the book that needed to be shown on the show, and certainly one that fans have been aching to see brought to life. I already talked a bit about it in this post, but this is an original design that riffs on the Robe de Cour, the most formal gown worn in Europe during the 18th century.

Terry Dresbach has repeatedly said that she does not base her costumes purely on descriptions from the books, and I think that’s the whole point of having a costume designer. They can create a visual language that provides the time, place and mood. Not all authors are good at writing about what their characters are wearing, anyways. On the flip side, sometimes veering from the book is a no-no. Hermione’s dress should have been BLUE, and I don’t give a crap what Emma Watson likes to wear!

Thank you to people with ample time to photoshop who have remedied this situation.

Film and TV productions that attempt “modern historical” are often the result of a combination of ‘the powers that be’ deciding that viewers don’t think historical clothing is sexy or relateable and/or a limited budget. So you might end up with the hot mess that is Reign.

I should note that I’ve never even watched this show, but Netflix keeps trying to suggest it to me. A show about teenage Mary Stuart, aka future Mary, Queen of Scots, sounds amazing, but alas I couldn’t get past what I saw in the commercials. I was obsessed with Cate Blanchett in Elizabeth when I was in high school, so assuming that they had to do this Gossip Girl/Renn Faire mashup to attract teens is a real lowest-common-denominator bummer. But back to the Red Dress!

Decidedly not a bummer! Terry Dresbach was tasked with creating a dress that results in a fan favorite Jamie quote, moves the plot, and looks like something that Claire would have designed with her mantua-maker. Claire is very much a modern woman who bristles at the norms and customs of the 18th century (tbh the 20th century too!) and it’s reflected in her minimalist, elegant clothing. Claire suffers no fools—or frou-frou! Louise on the other hand is the picture of French rococo, full of pastel jacquards, frothy ribbons, and coquettish charms. Claire is dressed in deep jewel tones that are either unadorned or given unusual details to have her be just a hair off. Again, she’s a time-traveler and the lead so it’s a good design choice.

Ruby red, plus emerald, garnet. tanzanite, citrine, and amethyst

The Red Dress is modern historical done right—you can see the elements of the 18th century without being thrown off by the anachronistic twists. So let’s break down the modern and the historical aspects of the design.

There’s a lot of 1950’s influence in this dress, much like the Dior Suit. The shade of red immediately brought to mind the famous Revlon lipstick Cherries in the Snow, which they have continued to make since it came out in 1952. The lipstick and matching nail polish were bestsellers, and probably what your grandmother or great aunt was wearing in those old black and white photos you love. This va-va-voom ad from 1953 with model Dorian Leigh certainly doesn’t require you to read between the lines!

“Who knows the black lace thoughts you think while shopping in a gingham frock?”Inspiration board from Terry Dresbach’s blog…for a nip slip.

The plunging neckline, however—can we still call it that when it’s nowhere near the neck? The boobline?-—is totally 2016. Obviously this a dress for the bold (although amazingly less NSFW than the King’s mistress OUCHIES) so if you’re doing a cosplay version all I can say is werk werk werk werk werk. Also, don’t lean over 😜

Of course, if you make the Red Dress you can adjust the neckline to suit your comfort level. Just sew up the center front seam until you’ve got a level of décolletage you won’t regret later. If you want to be more modest AND historically accurate, then sew it completely closed and bring on the lace and bling. You could also tone down the boob-tasticness by adding a lace tucker or a chiffon ruffle like Claire’s purple dress, which looks like it was drafted from the same pattern. Hey, we can’t all be former Victoria Secret models like Ms. Balfe! I’ve always been a rectangle in those magazine “what shape are you?” quizzes so I’m forever Team Modest Bosom.

On the historical side this gown has many elements of the Robe de Cour, or “court dress.” Another name for this style of dress is grand habit (“full dress”), but as the fashions of the French court carried to other countries it simply became the dress to be worn in the presence of royalty. In English it was called a stiff-bodied gown. Compare Claire’s dress to these two ruby Robes de Cour worn by royals in the mid-late 18th century.

Henriette of France, youngest of Louis XV’s twin daughters. Love that she played the viola de gamba!

This gorgeous scarlet red and gold brocade robe de cour is worn by Louis XV’s daughter Henriette, the younger of his twin daughters born in 1727. That date sounded way too early to me, but it turns out Louis XV was married at 15, and “finally” fathered an heir (and a spare) at the ripe old age of 17! So if you do the math, Louis XV has 18 year old daughters AND a 16 year old married son at the time of Bonnie Prince Charlie’s campaign. Blergh.

These are both later Robes de Cour, as Maria Amalia was born in 1746 shortly before the Battle of Culloden, and the print is from 1778. However, the dress style has barely changed: same low, off-the-shoulder bodice that laces up the back, layered lace sleeves, ornate stomacher, and petticoat with large panniers. The lace sleeves are detachable, but I’m not sure if they were tacked onto the chemise or the bodice. This cloth-of-gold bodice was worn by Lady Mary Douglas at the coronation of George III. There’s a cool FIDM blog post about how they took to the hospital to be x-rayed and examine all the layers of the only surviving English “stiff-bodied gown” without damaging it. It looks like the strip of ivory silk is where the lace sleeves would have been attached.

The court bodice was fully boned, laced up the back, and many also had tabs, so it was basically a bodice-stays hybrid. No stays were worn underneath the robe de cour, so Terry Dresbach took that idea and ran with it.

Photos from the Outlander exhibit at the Paley Center via TerryDresbach.comBack lacing with modesty panel, although perhaps a misnomer here…

There are usually bows or ribbon decoration at the elbow, which is interpreted very simply on Claire’s gown. You can see a piped edge along the bodice which is sitting on top of a cartridge-pleated skirt, just like on the Emerald Robe à la Piemontaise. The photo also shows where the center inverted box pleat ends.

Close up on the ribbon detail and the skirt’s accordion pleats.

The hem length is high ankle, and that isn’t really fashionable until the last quarter of the century, and then only for less formal dresses. Even when the empire waist came into fashion, the Robe de Cour skirt still grazes the floor with wide panniers (yeah, it’s not sexy look). But the shorter hem modernizes Claire’s dress and helps set the dress apart in a crowd. Plus, gotta show off your custom shoes! Similar strap-happy heels on the Pinterest board.

In addition the amazing dress, this episode also gave us one of my fave Outlander memes.

In Jamie’s defense, he did give Claire a heads up. “I said I was a virgin, not a monk.” Haha!

How to Make It

I’m going to assume that anyone making this gown, or a historically accurate version, has a pretty fancy party to attend. I haven’t tackled panniers or cartridge pleating yet, but if you’ve made stays or another type of boned bodice before this project is very doable. Practice crab-walking sideways through doors to see if this dress is for you 😉

Type: Original design {Modified Robe de Cour}

HA Rating: 6/10
(It would turn heads, but you wouldn’t be immediately be thrown in gaol as a time-traveling witch like showing up in Forever 21)

Outlander fans got a wee dram to hold them until the Season 3 premiere with a panel at San Diego ComicCon, plus plenty of adorableness from the cast and Diana all over Instagram and various interviews. Spoiler alert: Sam and Cait are still hot, and doing that whole “we’re-not-an-item-but-we’re-going-flirt-and-touch-each-other-for-the-fans” thing 😛 Also, Tobias got to talk sometimes lol. SDCC was followed by Costume College —why are all the fun things so far away? Would love to one day be able justify a flight to California for a weekend of sewing and costuming classes!

But until then, I’m going to keep sewing and share my top 7 gowns from S2 to get us through! Season 3 premieres September 10th, and then in October I’ll be at NYCC so this fall is going to be fun. I’m going to breakdown the look for you by looking at what type of gown it is, how historically accurate it is (and if not, how to make it accurate), and suggested patterns and fabric to make it for yourself! Plus, each look will have it’s own Pinterest board for source images, extant garments, and inspiration.

If you have also been eagerly awaiting the new American DuchessxSimplicity pattern, then you’re probably already aware of the dust-up over this new release. But just in case you’re not, let me back up a bit. About a year ago Lauren and Abby of American Duchess announced that Simplicity has asked them do another pattern for their Outlander cosplay series. I should note the pattern is not licensed and does not name the show, but it’s clear Simplicity is aiming for this audience. They shared a few photos of the work in progress (spiders, insane pleating, etc.) and made clear that they viewed Terry Dresbach’s creation as “an original piece of haute couture” and would not be copying the design, but using the dress as inspiration in combination with historical garments, namely the Robe de Cour.

The original sewing pattern cover that was pulled from stores.

The Robe de Cour, also called a grand habit or grand habit de cour was to be worn in court (the kind with royals, not lawyers) and had several unique design elements that differed from other dresses of the same time, including: fully boned, separate bodice with laced back, wide or puffy lace sleeves, a low scooped or off-the-shoulder neckline, and sometimes tabs similar to stays. These elements are very clear in this portrait; see the tiny tabs at the bottom point of the bodice?

Portrait of Lady Frances Montagu ca. 1734 Charles Jervas

A fashion plate showing a robe de cour towards the end of 1700’s.

To myself, and many, many Outlander and costuming fans, the news of the pattern’s release was exciting, but not a surprise. Apparently, not so for Terry Dresbach. She made several comments on social media, partially removed her blog, and then shut it down completely. Ooof.

In her mind, the pattern is an attempt to make money off of her original design without her permission or compensation. Truth be told, capitalizing on trends and pop culture is the aim of the big pattern companies, but to me it’s clear it was not the intention of the designers. They did not make a carbon copy of her design, and sought to draw from historical styles while still giving fans (and Simplicity) what they wanted. When Lord of the Rings came out there were lots of vaguely medieval, Elvish patterns (and yes, high school me did ask my mom to make me one for Renn Fest!). When Pirates of the Caribbean was big there were tons of sexy pirate, corset-type costumes. When Game of Thrones blew everyone’s minds… you guessed it, Westeros now at a Joann’s near you.

Uh “cousin of dragons”?

I think it’s certainly any artist’s right to protect his or her original designs, but Terry’s reaction also stems from her frustration with the larger problem within the industry of costume designers not receiving any royalties from their designs. (She had written about this issue on her blog at one point, but can’t link back anymore since the blog is gone.) I have to admit her post was the first time I’d ever considered the thousands of branded Indiana Jones Halloween costumes or the knock-offs-trying-to-avoid-being-sued with names like “Lady Cat Villain” that will continue to make money for the studio or merchandiser—without the designer who created the iconic image ever seeing a cent. This is so entrenched in the entertainment industry it would take a huge boycott, similar to the writer’s strike that crippled Hollywood a few years ago, to have any impact.

Is the pattern inspired by Outlander? Absolutely—but I wish that Terry had realized that these are historians and experienced dressmakers that DID NOT need her blog to figure out how make a court dress. Imitations of a gown that fans of the books have envisioned and dreamed about for over a decade were inevitable, no matter what it looked like. But her vision for Claire’s Versailles red dress is destined to be as iconic as the gowns of Hollywood leading ladies, and in my opinion only topped by her genius 1740’s meets 1940’s Dior Bar Suit mashup. But whereas both of those creations are a step out of time—befitting a time-traveler—the Simplicity pattern is based on extant dresses and fashions. The original pattern, now pulled from shelves, makes the connection more obvious with the sample’s rich scarlet satin. The replacement was altered to a fakey Photoshopped blue and my last check on the website showed a teal color.

It’s a real loss that Terry’s blog is offline indefinitely because casual fans and historical costumers alike could see the incredible amount of work that went into each costume, plus get close-up photos and sometimes design or process elements of a garment that may have been in the background, or only on screen for a few seconds. Maybe we can start a petition to bring it back for season 3? We know there’s another wedding dress coming and so many different characters to introduce and various new locations—really want to see how they tackled a whole new set of problems!